Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 4.djvu/459

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michele san michele.
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and voice are intently following the sound; of the other two, one is playing a lute, and the other sings from a hook. Near these figures is a Cupid without wings playing on a harpsicord, to signify that Love is awakened by Music, or that Love is ever the companion of Music; and the artist has made him without wings, to show that he never parts from her. In the same work Paulino depicted Pan, who, according to the poets, is the god of shepherds, holding in his hand pipes or flutes made of the bark of trees, these being such as have been dedicated to him in the manner of vows, by shepherds who had been victorious in the trial of playing on them.

Two other pictures were painted by Paulino in the same place, in one of which is Arithmetic, accompanied by philosophers, dressed after the manner of the ancients; in the other is Honour, to whom, she being seated, sacrifices are offered and royal crowns presented. But as this young man is just now in the best of his activity, and has not yet attained his thirty-second year, I will say nothing more at present respecting him.[1]

Of Verona is likewise the practised and able painter Paolo Farinato,[2] who was the disciple of Niccolò Ursino,[3] and has executed many works in Verona; among the principal of these may be indicated a hall in the house of the Fumanelli family, which Messer Antonio, a gentleman of that family, and a physician renowned through all Europe, has caused to be decorated in fresco and covered with stories after his own fancy. There are also two large pictures by Farinato in the principal chapel of Santa Maria-in-Organo,[4] one of these represents the Slaughter of the Innocents by Herod, in the other is depicted the Emperor Constantine, who causes a number of children to be brought and slain before him, to the

  1. Vasari lias returned to the subject of Paolo’s works nevertheless, in the Life of Battista Franco, and in any case has said quite sufficient to render the attack of those who reproach him for not having written a separate biography of a painter then so young, wholly unjustifiable.
  2. Said to have been a scion of the family of the celebrated Farinata degli Uberti. On his large picture, in San Giorgio Maggiore at Verona, he gives his age as seventv-nine, in 1G03; he was consequently born in 1524. —Ed. Flor., 1832-8.
  3. This should be Niccolò Giolfino, a painter of Verona. —Ibid.
  4. These works are still in existence. — Ed. Flor., 1832-8.